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Tabla and The World Of Indian Rhythms
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Tabla and The World Of Indian Rhythms
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Description

From The Jacket

Here at last is a book in English on the Tabla, which the world has been waiting for. Due to Continuation of insulated traditions in Indian Musical Practices as well as a veil of secrecy in the closeted legacy of the Guru-Shishya Parampara, most Tabla students were prevented from learning the subject in a free and unrestricted manner, in earlier days, the source of learning was centered around great masters (often quite intemperate ones), who would not put things in writing so that the 'hidden treasure' was not made public. The training therefore was by word of mouth and through imitation. This is probably one of the main reasons why very few good books on the Table are available even to this day. Today though a few books are available on the Tabla in regional Indian languages, this is perhaps the first comprehensive book of its kind to be written in English to cater to all those who would like to have an understanding of the Tabla through the medium of English which happens to be the lingua-franca of the World. This book definitely would contribute to the expansion of the horizons of Indian Culture in bringing the concept of Indian Rhythms within the fold of World Music. With the Tabla gaining worldwide popularity as a percussion instrument, it is all the more necessary to have a reliable, all-inclusive book in English to serve the larger interests of musicians, practitioners, researchers and music lovers all over the world. After extensive research, Sudhis Chandra Banerjee has written this book in the most deft and cogent manner and has also devised a simple, intelligible Tabla Script of his own.

This book has two sections viz. theory and Practice. It is lucidly written and is both systematic and understandable. It starts from the very basics to the advanced levels of Tabla in all its multi-dimensions and will prove to be an asset for any Individual, Institution, Teacher or Student who would like to teach/learn or appreciate and enjoy the Tabla in a systematic way. Portions have been added to facilitate the teachers and students to use the book as a practice/reference book for appearing at Music (Tabla) Examinations. This book would definitely prove to be a boon to all music lovers in this globalised world with its quintessential Indianness contributing to a pluralistic world culture.

About The Author

Sudhis Chandra Banerjee is a Metallurgical Engineer from the Indian Institute of Technology, Kharagpur. A Metallurgist by profession and a Musician by passion, he took to the Tabla at the early age of seven. Besides his busy schedule as a Sr. Executive and Metallurgist of Tata Steel and other industries. Mr. Banerjee always did a fine balancing act to be with his Tabla practice and performances throughout his academic career as well as while in industry. He had his initial training on the Tabla from hiscousin shri Chandra Sekhar Banerjee (Guluda) of Calcutta. After a few years under his guidance, he was placed under the tutelage of the famous Tabla maestro Pandit Biswanath Bose of the Benares Gharana, from whom he had several years of advanced training.

Mr. Banerjee belongs to the Benares School (Gharana) of Tabla playing and has always shown his deep interest for the dissemination of knowledge on the Table and Indian Rhythms. He is very widely traveled and besides his home country India, he has performed and given Lecture-Demonstrations on the Tabla in many major cities of the world. Besides his Engineering Degree from I. T. T., Mr. Banerjee is also a Graduate in Music and is an Examiner in Instrumental Music (Tabla) of the Bal Gandharva Mahavidyalaya. Mr. Banerjee has also been a Member of the Audition Board of the All India Radio. He has been honoured by the Singhbhum District Hindi Sahitya Samelan with an Award as a Tabla-Guru. Because of his sound technological background, he is able to add a significant dimension to the artistic craftsmanship of the Tabla.

 

Contents
  Preface 7
  THEORY  
1 The Origin and evolution of the Tabla 10
2 Classification of Indian Musical Instruments 13
3 A Note on Pronunciation of Tabla Boles 17
4 Definition of some Terms and Terminology 18
  Bole, Tala or Taal, Theka, Bibhag, Avartan, Tali, Khali, Prakar or Kisme, Kayda, Paltas, Rela, Swatantra Rela, Kayda-Rela, Tihai, Dumdar Tihai, Bedam Tihai, Mohra, Mukhra, Tukra, Paran, Uthan, Sam, Tali, Khali, Bibhag, Peshkar, Chala, Gath, Farmaishi Cheese, Ek Hasti Paran, Chakkardar Paran, Types of Chakkardar Paran, Sadharan Chakkardar Paran, Farmaishi Chakkardar Paran, Kamali Chakkardar Paran, Laggi, Baht, Larhi, Teepally, Chowpalli, Nawhakka, Chhand  
5 The Nomenclature and Parts of the Tabla 51
6 Tuning the Tabla 58
7 The Tabla Language (The Basic Strokes & Alphabets) 60
8 Tabla Gharanas 66
  Delhi Gharana, Lucknow Gharana, Benares Gharana, Punjab Gharana, Farukkhabad Gharana, Ajrara Gharana,  
9 A Short History of Indian Music 80
10 The Mridangam and the Pakhawaj 87
11 The Ten Essences of a Rhythm (Tall Ka Dus Praan) 92
12 Laykari 100
  Thah, Adhgun, Dugun, Teengun, Chowgun, Arh, Kuwarh, Biyarh, Procedures for writing various types of Laykari, To find out the Starting Point of a Tala for different Laykaris, Calculating the Starting Point of a Theka for various Laykaris  
13 Elucidation of 'Tihai' and its Guidelines 111
  Dumdar Tihai, Bedum Tihai, Tihai for 10 Matras, Tihais for 11, 12 and 13 Matras, Tihai for 14 and 15 Matras, Tihai for 4, 5, 6 and 7 Matras, Tihai for 8, 9 and 16 Matras, Tihai for 17 and 18 Matras  
14 Thekas and Description of common Talas 120
  Teen Tal or Trital, Jhaptal, Ektal, Chartal or Choutal, Dadra Tal, Sultal or Sulfaktal, Tewra or Tibra Tal, Deepchandi Tal, Kaharwa Tal, Tilwara Tal, Dhumali Tal, Rupak Tal, Kawali Tal, Khemta Tal, Jhumra Tal,  
  Arachartal, Dhamar Tal, Adhdha Taj, Jat Tal, Tappa Tal, Punjabi Tal, Gajajhampa Tal, Matta Tal, Pancham Sawari Tal, Shikhar Tal, Posto Tal, Rudra Tal, Basant Tal, Khumbha Tal, Farodast Tal, Lakshmi Tal, Brahma Tal, Uday Bhan Tal, Bari Sawari Tal  
15 Comparison between Talas having the Same Number of Beats (Matras) 140
  Tewra-Rupak-Posto, Kaharwa-Dhumali-Thumri-Kawali, Jhaptal-Sulfaktal-Jhampa, Rudra-Mani-Kumbha, Ektal-Choutal-Khemta, Jhumra-Arachartal-Dhamar, Foredoest-Deepchandi, Pancham Sawari-Gajajhampa, Teental-Tilwara-Punjabi, Tappa-Jath, Shikhar-Vishnu, Matta-Lakshmi  
16 Talas Composed by Rabindranath Tagore (Rabindrik Talas) 148
17 Thekas for 218 Uncommon Talas 152
18 Short Notes (Nibandha) 195
  Speed/Pace and Rhythm in Music (Sangeet Meh Laya Aur Taal), Musical Concerts and Soirees, (Sangeet Sammelan), Selection of Talas (Rhythms) for Tabla Solo Performance, Ways and Means to Increase the Popularity of Indian Classical Music  
19 Forms and Styles of Music 204
  Dhrupad, Dhamar, Kheyal Bada Kheyal, Drut Kheyal, Thumri, Tarana, Tappa, Bhajan, Geet, Lakshan Geet, Hori, Chaturang  
20 Biographies of Great Maestros 210
  Amir Khusro, Tansen, Pandit Vishnu Narayan Bhatkhande, Pandit Vishnu Digambar Paluskar, UstadAhmed Jan Thirakwa, Pandit Kanthe Maharaj, Pandit kishen Maharaj, Pandit Biswanath Bose, Pandit Kumar Bose, Ustad Alla rakha Khan, Ustad Zakir Hussain, Pandit Shankar Ghosh, Pandit Anindo Chatterjee  
21 Afterword 222
22 Glossary 224
  PRACTICE  
  Teen Taal 237
  Kayada with Paltas (8 Kaydas with Paltas and Tihai), Peshkara with Paltas (2 Peshkaras with Paltas and Tihai), Relas (8 Relas), Simple Tihais (8 Dumdar Tihais, 5 Bedam Tihais) Tukras (14 Tukras), Mukhra or Small Uthans (5 Mukhras), Parans (5 Parans), Sadharan Chakkardar Paran (4 Chakkardar Parans), Farmaishi Chakkardar Paran (3 Chakkardar Parans), Kamali Chakkardar Paran.  
  Jhaptal 282
  Prakar or Types, Kayda with Paltas (9 Kaydas with Paltas and Tihai), Mukhra. (4 Mukhras), Mohra. (4 Mohras), Dumdar Tihai (5 Dumdar Tihais), Bedum Tihai (6 Bedum Tihais), Relas (5 Relas), Paran, Farmaishi Chakkardar Paran (2 Chakkardar Parans), Kamali Chakkardar Paran, Tukra. (6 Tukras), Peshkara with Paltas and Tihai  
  Ektal 311
  Theka with Prakaar or Types, Kayda with Platas (7 Kaydas with Paltas and Tihai), Mohra (5 Mohras), Mukhra (3 Mukhras), Rela (4 Relas), Tihais. 6 Tihais), Paran (3 Parans), Farmaishi Chakkardar Paran, Tukra (8 Tukras) Gath, Peshkara with Paltas and Tihai  
  Rupak Tal 334
  Theka with Prakaar or Types, Kayda (3 Kaydas with Paltas and Tihai), Mukhra (3 Mukhras) Mohra (4 Mohras), Tihai (6 Tihais), Tukra (7 Tukras) Chakkardar Paran  
  Kaharwa Tal 346
  Theka, Prakar or Types, Laggi (3 Laggis with Baht and Tihai)  
  Dadra Tal 349
  Theka, Prakar or Types, Mukhra, Mohra, Laggi (2 Laggis with Baht), Tukra (2 Tukras) Tihai (6 Tihais)  

Sample Pages

















Tabla and The World Of Indian Rhythms

Item Code:
IDI738
Cover:
Paperback
Edition:
2006
Publisher:
ISBN:
9788182902534
Language:
English
Size:
7.6" X 9.6
Pages:
352 (Color Illus: 8 )
Other Details:
Weight of the Book: 730 gms
Price:
$60.00
Discounted:
$45.00   Shipping Free - 4 to 6 days
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From The Jacket

Here at last is a book in English on the Tabla, which the world has been waiting for. Due to Continuation of insulated traditions in Indian Musical Practices as well as a veil of secrecy in the closeted legacy of the Guru-Shishya Parampara, most Tabla students were prevented from learning the subject in a free and unrestricted manner, in earlier days, the source of learning was centered around great masters (often quite intemperate ones), who would not put things in writing so that the 'hidden treasure' was not made public. The training therefore was by word of mouth and through imitation. This is probably one of the main reasons why very few good books on the Table are available even to this day. Today though a few books are available on the Tabla in regional Indian languages, this is perhaps the first comprehensive book of its kind to be written in English to cater to all those who would like to have an understanding of the Tabla through the medium of English which happens to be the lingua-franca of the World. This book definitely would contribute to the expansion of the horizons of Indian Culture in bringing the concept of Indian Rhythms within the fold of World Music. With the Tabla gaining worldwide popularity as a percussion instrument, it is all the more necessary to have a reliable, all-inclusive book in English to serve the larger interests of musicians, practitioners, researchers and music lovers all over the world. After extensive research, Sudhis Chandra Banerjee has written this book in the most deft and cogent manner and has also devised a simple, intelligible Tabla Script of his own.

This book has two sections viz. theory and Practice. It is lucidly written and is both systematic and understandable. It starts from the very basics to the advanced levels of Tabla in all its multi-dimensions and will prove to be an asset for any Individual, Institution, Teacher or Student who would like to teach/learn or appreciate and enjoy the Tabla in a systematic way. Portions have been added to facilitate the teachers and students to use the book as a practice/reference book for appearing at Music (Tabla) Examinations. This book would definitely prove to be a boon to all music lovers in this globalised world with its quintessential Indianness contributing to a pluralistic world culture.

About The Author

Sudhis Chandra Banerjee is a Metallurgical Engineer from the Indian Institute of Technology, Kharagpur. A Metallurgist by profession and a Musician by passion, he took to the Tabla at the early age of seven. Besides his busy schedule as a Sr. Executive and Metallurgist of Tata Steel and other industries. Mr. Banerjee always did a fine balancing act to be with his Tabla practice and performances throughout his academic career as well as while in industry. He had his initial training on the Tabla from hiscousin shri Chandra Sekhar Banerjee (Guluda) of Calcutta. After a few years under his guidance, he was placed under the tutelage of the famous Tabla maestro Pandit Biswanath Bose of the Benares Gharana, from whom he had several years of advanced training.

Mr. Banerjee belongs to the Benares School (Gharana) of Tabla playing and has always shown his deep interest for the dissemination of knowledge on the Table and Indian Rhythms. He is very widely traveled and besides his home country India, he has performed and given Lecture-Demonstrations on the Tabla in many major cities of the world. Besides his Engineering Degree from I. T. T., Mr. Banerjee is also a Graduate in Music and is an Examiner in Instrumental Music (Tabla) of the Bal Gandharva Mahavidyalaya. Mr. Banerjee has also been a Member of the Audition Board of the All India Radio. He has been honoured by the Singhbhum District Hindi Sahitya Samelan with an Award as a Tabla-Guru. Because of his sound technological background, he is able to add a significant dimension to the artistic craftsmanship of the Tabla.

 

Contents
  Preface 7
  THEORY  
1 The Origin and evolution of the Tabla 10
2 Classification of Indian Musical Instruments 13
3 A Note on Pronunciation of Tabla Boles 17
4 Definition of some Terms and Terminology 18
  Bole, Tala or Taal, Theka, Bibhag, Avartan, Tali, Khali, Prakar or Kisme, Kayda, Paltas, Rela, Swatantra Rela, Kayda-Rela, Tihai, Dumdar Tihai, Bedam Tihai, Mohra, Mukhra, Tukra, Paran, Uthan, Sam, Tali, Khali, Bibhag, Peshkar, Chala, Gath, Farmaishi Cheese, Ek Hasti Paran, Chakkardar Paran, Types of Chakkardar Paran, Sadharan Chakkardar Paran, Farmaishi Chakkardar Paran, Kamali Chakkardar Paran, Laggi, Baht, Larhi, Teepally, Chowpalli, Nawhakka, Chhand  
5 The Nomenclature and Parts of the Tabla 51
6 Tuning the Tabla 58
7 The Tabla Language (The Basic Strokes & Alphabets) 60
8 Tabla Gharanas 66
  Delhi Gharana, Lucknow Gharana, Benares Gharana, Punjab Gharana, Farukkhabad Gharana, Ajrara Gharana,  
9 A Short History of Indian Music 80
10 The Mridangam and the Pakhawaj 87
11 The Ten Essences of a Rhythm (Tall Ka Dus Praan) 92
12 Laykari 100
  Thah, Adhgun, Dugun, Teengun, Chowgun, Arh, Kuwarh, Biyarh, Procedures for writing various types of Laykari, To find out the Starting Point of a Tala for different Laykaris, Calculating the Starting Point of a Theka for various Laykaris  
13 Elucidation of 'Tihai' and its Guidelines 111
  Dumdar Tihai, Bedum Tihai, Tihai for 10 Matras, Tihais for 11, 12 and 13 Matras, Tihai for 14 and 15 Matras, Tihai for 4, 5, 6 and 7 Matras, Tihai for 8, 9 and 16 Matras, Tihai for 17 and 18 Matras  
14 Thekas and Description of common Talas 120
  Teen Tal or Trital, Jhaptal, Ektal, Chartal or Choutal, Dadra Tal, Sultal or Sulfaktal, Tewra or Tibra Tal, Deepchandi Tal, Kaharwa Tal, Tilwara Tal, Dhumali Tal, Rupak Tal, Kawali Tal, Khemta Tal, Jhumra Tal,  
  Arachartal, Dhamar Tal, Adhdha Taj, Jat Tal, Tappa Tal, Punjabi Tal, Gajajhampa Tal, Matta Tal, Pancham Sawari Tal, Shikhar Tal, Posto Tal, Rudra Tal, Basant Tal, Khumbha Tal, Farodast Tal, Lakshmi Tal, Brahma Tal, Uday Bhan Tal, Bari Sawari Tal  
15 Comparison between Talas having the Same Number of Beats (Matras) 140
  Tewra-Rupak-Posto, Kaharwa-Dhumali-Thumri-Kawali, Jhaptal-Sulfaktal-Jhampa, Rudra-Mani-Kumbha, Ektal-Choutal-Khemta, Jhumra-Arachartal-Dhamar, Foredoest-Deepchandi, Pancham Sawari-Gajajhampa, Teental-Tilwara-Punjabi, Tappa-Jath, Shikhar-Vishnu, Matta-Lakshmi  
16 Talas Composed by Rabindranath Tagore (Rabindrik Talas) 148
17 Thekas for 218 Uncommon Talas 152
18 Short Notes (Nibandha) 195
  Speed/Pace and Rhythm in Music (Sangeet Meh Laya Aur Taal), Musical Concerts and Soirees, (Sangeet Sammelan), Selection of Talas (Rhythms) for Tabla Solo Performance, Ways and Means to Increase the Popularity of Indian Classical Music  
19 Forms and Styles of Music 204
  Dhrupad, Dhamar, Kheyal Bada Kheyal, Drut Kheyal, Thumri, Tarana, Tappa, Bhajan, Geet, Lakshan Geet, Hori, Chaturang  
20 Biographies of Great Maestros 210
  Amir Khusro, Tansen, Pandit Vishnu Narayan Bhatkhande, Pandit Vishnu Digambar Paluskar, UstadAhmed Jan Thirakwa, Pandit Kanthe Maharaj, Pandit kishen Maharaj, Pandit Biswanath Bose, Pandit Kumar Bose, Ustad Alla rakha Khan, Ustad Zakir Hussain, Pandit Shankar Ghosh, Pandit Anindo Chatterjee  
21 Afterword 222
22 Glossary 224
  PRACTICE  
  Teen Taal 237
  Kayada with Paltas (8 Kaydas with Paltas and Tihai), Peshkara with Paltas (2 Peshkaras with Paltas and Tihai), Relas (8 Relas), Simple Tihais (8 Dumdar Tihais, 5 Bedam Tihais) Tukras (14 Tukras), Mukhra or Small Uthans (5 Mukhras), Parans (5 Parans), Sadharan Chakkardar Paran (4 Chakkardar Parans), Farmaishi Chakkardar Paran (3 Chakkardar Parans), Kamali Chakkardar Paran.  
  Jhaptal 282
  Prakar or Types, Kayda with Paltas (9 Kaydas with Paltas and Tihai), Mukhra. (4 Mukhras), Mohra. (4 Mohras), Dumdar Tihai (5 Dumdar Tihais), Bedum Tihai (6 Bedum Tihais), Relas (5 Relas), Paran, Farmaishi Chakkardar Paran (2 Chakkardar Parans), Kamali Chakkardar Paran, Tukra. (6 Tukras), Peshkara with Paltas and Tihai  
  Ektal 311
  Theka with Prakaar or Types, Kayda with Platas (7 Kaydas with Paltas and Tihai), Mohra (5 Mohras), Mukhra (3 Mukhras), Rela (4 Relas), Tihais. 6 Tihais), Paran (3 Parans), Farmaishi Chakkardar Paran, Tukra (8 Tukras) Gath, Peshkara with Paltas and Tihai  
  Rupak Tal 334
  Theka with Prakaar or Types, Kayda (3 Kaydas with Paltas and Tihai), Mukhra (3 Mukhras) Mohra (4 Mohras), Tihai (6 Tihais), Tukra (7 Tukras) Chakkardar Paran  
  Kaharwa Tal 346
  Theka, Prakar or Types, Laggi (3 Laggis with Baht and Tihai)  
  Dadra Tal 349
  Theka, Prakar or Types, Mukhra, Mohra, Laggi (2 Laggis with Baht), Tukra (2 Tukras) Tihai (6 Tihais)  

Sample Pages

















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  • could you send me words to play tihai am practicing but have lost my book i am studying from please help, and write all the letters and words to play this tihai thanks
    by chandu solanki on 21st Nov 2011
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